Gary Brolsma NUMA NUMA Dance 2004
Internet-based video of American Gary Brolsma lip-synching the song energetically on his webcam brought the Numa Numa phenomenon to the US. Brolsma stated in an interview, "...I found it ["Dragostea din tei"] in another (I believe it was Japanese) flash animation with cartoon cats"Maiyahi by ikari.[3] Others have noted that it was first used in the Japanese flash animation Maiyahi by the Internet user "ikari".[4]
Brolsma uploaded his "Numa Numa Dance" to Newgrounds on 6 December 2004.[5] In the original video, Brolsma does not finish the entire song, ending at around 1:37. On Newgrounds it has since been seen more than 14 million times and copied onto hundreds of other websites and blogs, making it the second-most watched viral video of all time (only losing out to Star Wars kid).[6] He has also receive
d mainstream media coverage from ABC's Good Morning America, NBC's The Tonight Show, and VH1's Best Week Ever, and, according to The New York Times, was an "unwilling and embarrassed Web celebrity".[7] He canceled media appearances but reappeared in September 2006 with a professionally produced video, New Numa. This video, hosted on YouTube, marked the start of the "New Numa Contest", which promised US$45,000 in prize money and a US$25,000 award to the winner.[8]
VS.Vito Acconci Theme Song 1973
In Theme Song, Acconci uses video as close-up to establish a perversely intimate relation with the viewer, creating a personal space in which to talk directly to (and manipulate) the spectator. He is face to face with the viewer, his head close against the video screen, lying cozily on the floor. Acconci writes, "The scene is a living room -- quiet, private night -- the scene for a come-on -- I can bring my legs around, wrapping myself around the viewer -- I'm playing songs on a tape recorder -- I follow the songs up, I'm building a relationship, I'm carrying it through." Smoking cigarettes, he begins a seductive monologue as he plays "theme songs" by the Doors, Bob Dylan, Van Morrison, Kris Kristofferson and others on a tape recorder. The songs are a starting point for his come-ons; the tenor of his monologues shifts with the lyrics. "Of course I can't see your face. I have no idea what your face looks like. You could be anybody out there, but there's gotta be somebody watching me. Somebody who wants to come in close to me ... Come on, I'm all alone ... I'll be honest with you, O.K. I mean you'll have to believe me if I'm really honest...." Theme Song, with its ironic mixture of openness and manipulation, is one of Acconci's most effective works
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